Planning: Micro-Elements (Mr. S)

Planning: Micro-Elements

In this post I am going to discuss the use of micro-elements within my opening. The main aspects within the 'micro' aspect are cinematography, sound & editing. These elements are all a part of any film production, which is the generic answer to why they are so relevant and important. 



CINEMATOGRAPHY
Using a collection of filming techniques, cinematography can act as a direct communication with the audience, or the feel of being 'inside' the movie. Smart and sophisticated camera tricks are distinguished greatly over the thriller genre.

Cinematography is split into three main sectors: shots, angles & movement. Cinematography is important in thrillers because depending on how it is established, the actual 'thrill' response can be created.

Our first camera movement will be a panning shot. We chose this to allow the audience an overview and first impression of the Professor's character before diving into the plot. To contradict that freedom of impression, the panning shot was selected to construct a certain kind. We'll do this by showing him sitting at a desk with coffee, pens/papers, and a laptop. On the wall behind him are photographs and notes, which are all based on the anti-hero. We can see him observing a laptop, scrutinizing facial expression. This immediately has positive connotations of his intentions because as he will be made to look like a well-educated Professor (glasses, lab coat) his purpose can only be research for the means of knowledge/understanding. If we were to give him the opposite imagery, he'd have scruffy hair and perhaps a messy desk of spilt coffee, torn papers in red ink signifying danger.

We are going to use an over-the-shoulder shot as the Professor is observing Lara through a laptop screen. The camera will be directed toward the laptop screen instead of a person, despite this shot generally being used for conversations. The use of over-the-shoulder exposes to the audience what exactly he's watching, and unravels a main theme in the plot - psychosis/psychological/vice versa. It's also important because the next frame is a zoom, which will flow the best if from over-the-shoulder we move the camera straight into the laptop as it's already focused on that subject. Zooming into the scene will make the audience think they're going to find out more about it, more than what the Professor will determine, as the point of view will be INSIDE the room during the event, whereas he's watching it back on footage without first hand experience.

A close up will be used on the anti-hero's angry reaction after the first flashback. This offers the audience the chance to connect with the character, as in the flashback she's shown as happy despite it being out of an affair. When shown currently she is no longer in that beneficial situation and therefore it makes sense for her to respond to the memory in a negative manner. It's also a sign to the audience that she does have mental instability and split personality; it should take something drastic to remember events that lead to feeling scarred however the memory sparks up out of the blue, and her response itself it drastic and fast. The audience are made to respond with sympathy for her response OR respond with anger toward her initial anger because of the idea that she ruined the relationship between herself and the lover, and the relationship between Ivy and the same lover. Much like she has multiple personalities, the audience has multiple choice as to how their response unfolds, too.

There will be a long shot used during the scene of the antagonist's arrival. This frame involves  a clear, full shot of the closed door; representing 'pathways', 'alternatives' - conventional to a thriller, as generally they are made to be interpreted in different ways by different members of the audience. The door will be opened revealing something new and bringing forth content to add to the plot. In the scene the door actually slowly opens, so is not a still frame of the closed door. This creates a further response because as we see the full door, we wonder who will walk through: will they be tall or short, big or small, human or supernatural? Will it be the Professor? A closed door sparks up the imagination that is key for audience engagement, because once they see the identity, the tension vanishes.

A point of view will be used to see things from the anti hero's perspective when she is aware of the antagonist's presence. I considered point of view not just being what 'you' see, but how you see it. This is why I aim for the camera to be held quite still to represent the anti-hero's shock. The only movement is of the antagonist walking toward her. What we see is plainly the antagonist's facial expression, which has no expression. Instead of making her look malicious or vengeful, we thought the most effective symbolism of her death would be to actually make her face look ridden of emotion. The point of view is conventional because the distinction between antagonist and victim is made clear because of the antagonist walking toward the camera, which the audience knows is a person in a vulnerable state. This direct targeting also sparks interest and reflection on the first flashback of the affair, and anticipation on what might happen now because of that event.

We've also included a high angle during the anti-hero's episode of insanity. As she is acting crazy, the camera will be slightly looking down on her. The most obvious meaning created by this is that she is vulnerable - but it links to authority, too. One being the Professor who is 'watching over' her by observing her behavior. He is obviously qualified to do so. And the second being the antagonist - the high angle foreshadows the low angle combined with P.O.V when we meet the antagonist. Both of these tricks are again a clear distinction of who is the bad and who is the good. This could be argued to not be true as the Professor's figure of authority is not intended to be perceived as a bad one.

An extreme long shot makes up the scene of the anti-hero shooting the antagonist. This allows the audience to visually witness the full crime scene and connotations attached to it such as darkness in an isolated road. 

SOUND

Using a collection of props and/or editing techniques, sound can assist the audience into following the story or plot. Sounds are a part of daily life and contribute to our feelings, instincts and emotions, the same effect can be achieved by using sound within a production. 

Sound is important in thrillers because, when considering onomatopoeia, there are many different kinds of sounds that are conventional to a typical scene in a thriller - for example a bunch of violin strings mashed together to create that 'huh?' effect when a character has just heard something ELSE, like a BANG! another kind of sound previously, that was shady. Sound has to flow for understanding to be kept. 

We will use digetic sound when the anti hero shoots the antagonist. During this flashback, their roles are completely different - the antagonist is made to be the victim. So, in correlation to the 'anti-hero's' actions, we need the sound of a gunshot when we see her pull the trigger. This may create shock, but I would rather say the audience would be frightened instead, because there will be no other mellow sounds to warm them up: the gun is abrupt. I think they would be more frightened, considering we see the gun in her hand BEFORE she shoots, which would be the actual point of shock and start-up of tension. 

We will use parallel sound when the anti hero and the lover are caught by the antagonist. In this scene she is not going to be portrayed as an antagonist, so the sounds we use need to match the idea of her feeling emotion such as shock, betrayal and hurt. She's going to react to what she's seen with gasps, which I think is the typical behaviour of someone who has just been cheated on. The audience will be able to sympathize with her situation, and have more understanding of the anti-hero too. It isn't made clear if they know each other personally, there's no expected dialogue, because we wanted the audience to ponder on this.

Within the anti-hero's present reality we're going to include on screen sound such as crying in response to the memory of the murder which gives off vibes like guilt and regret because of where she is today. This, along with other on screen sound, is important because it is proof to the audience that she is mentally disturbed as she will act in different ways in different times, an indication of insanity. The different sounds we actually see her performing will emphasize this as her facial expression and body language will be visible too.

Non diegetic sound is to be used through a soundtrack that sounds dark and is accompanied by a high tempo. This will be played when the antagonist is approaching the anti-hero; her response being to back away from her in a somewhat slow movement to exaggerate that tension created by the soundtrack. Audience will think that the climax of the plot is approaching but will be rewarded with a frustrating cliff hanger as the music stops on the last frame that looks like it ought to have more footage. This is why the non diegetic sound we've picked is really effective.

Our last significant aspect of sound is off screen sound. This is present during the first flashback and includes traffic, birds chirping, and any other natural but non-disruptive sounds. This clearly shows that the couple are in public and in danger of being caught Further, the birds chirping could signify the idea of gossip which leads to being exposed. And, the traffic could foreshadow the antagonists' death - although she dies by a bullet, not by a car. This is conventional to a thriller genre because modern romance films are set in urban locations so it is logical to incorporate that into the romance sector of our thriller. Audience may be able to relate to this event because of it's urban feel and the youth of the couple.


EDITING
Editing is important in the flow of a production. This means the transition from one shot into another without it being obvious or messy to the audience. It's a powerful tool, when combined with sound especially, to stir specific moods within the audience.

There's going to be a reaction shot when the antagonist catches the affair between the anti-hero and the lover. This allows the audience to see her reaction to the event, and create sympathy toward her character. These feelings will be stirred because her facial expression will look hurt. This is conventional to the thriller genre because within a thriller, themes such as shock and tragedy are very typical. 
A slow edit will be put in place when the antagonist enters the anti-hero's room. The audience will respond with the feeling of being chilled/creeped out due to the tension that, by the example of legendary iconic thrillers such as Psycho, so obviously indicates alarm bells as something serious is about to happen which will steal away the atmosphere of tension and replace it with shock, confusion, fear. The slow edit of Ivy approaching Lara is what creates that temporary suspense.
When the antagonist walks toward the anti-hero we're going to use shot reverse shot. This is really handy as it creates more intense suspense though it's the exact opposite technique of the slow editing, as shot reverse shot is commonly quite fast. This, unlike other things such as a close up, allows the audience to establish both character's feelings and emotions in a short space of time - without being confused. This is conventional to a thriller because the tension is circled around the two characters which is reflected in the way the camera works between them. 
To make the transition between the laptop screen and the empty room, we're going to use a wipe cut. We think this will be the smoothest option available because the shots literally have to merge from one to the other and the wipe cut seemed the closest to this professional looking edit as possible. This edit fascinates the audience and prepares them for their 'journey' into the room with the crazy lady. They may feel they're about to gain an insight into her situation, which the Professor won't, because he remains behind the laptop screen. 
A fade to white will be used three times - each being the switch from reality to flashback. The flashbacks will be in black and white, indicating a past time, so fading to white seems more appropriate to the grayscale in brightly lit situations. A contrast may seem painful to the audience eye. Essentially the white is also a symbolism of an outcome of each flashback. White is what the antagonist wears in present time. White is the color of the walls in the asylum room. White is what we see heaven as, which relates to the idea of the antagonists' death. These all contradict each other as she clearly doesn't go to heaven and is not pure, in the end. However it's effective in creating these illusions because the idea of purity cloaked around her skin while she has sinful intentions, to hurt, is thrilling. 


To conclude, I've identified and explained some of the important features in our opening of cinematography, sound and editing. When written there seems to be many connotations, but I am fully aware that these may not actually be established visually unless somebody actually analyses the scene. This is why I've stated the main purpose of the technique, referring to our production as closely as possible.